For Filmmakers

  • Why Director’s Stop Calling You Back

    Why Director’s Stop Calling You Back

    Most DPs assume they didn’t get the callback because their reel wasn’t strong enough. Wrong reason. The real reason directors stop calling is simpler and harder to hear: you spent the shoot chasing the frame instead of solving their problem. In this video I break down the mindset shift that separates DPs who get hired… Read more

  • Why Your 24-70 Is Making You Look Like a Beginner

    Why Your 24-70 Is Making You Look Like a Beginner

    Most early career DPs think flat lighting is a gear problem. So they upgrade the rental package. Add more sources. Push more power. And the image still doesn’t pop. The real issue happened before a single light got turned on — it was the focal length they chose. I recently directed a car commercial on… Read more

  • Most DPs Light the Face. Here’s What We Lit Instead

    Most DPs Light the Face. Here’s What We Lit Instead

    Most DPs walk onto a film set thinking about camera settings. Seasoned DPs walk on having already solved the visual problems before they ever roll camera. Last year I shot a brand film for Storm and Shelter — a UK agency running a US campaign for Focusrite, featuring van life creators Frankie and Alex from… Read more

  • Your Reel Is Good. So Why Aren’t Directors Hiring You?

    Your Reel Is Good. So Why Aren’t Directors Hiring You?

    Your reel isn’t the problem. Your positioning is. If you’ve ever sent your work to a director and heard nothing back, this video is for you. A strong reel doesn’t automatically translate into getting hired — especially in corporate filmmaking. Directors aren’t just looking for talent. They’re looking for proof that you’ve already done the… Read more

  • Why Your Shots Feel Off (What Cinematographers See Differently)

    Why Your Shots Feel Off (What Cinematographers See Differently)

    Most filmmakers think cinematography is about making things look good. I used to think the same thing. But over time, I realized something that changed how I approach every frame: Cinematographers don’t see shots — they see what matters. You can have beautiful light, a great location, a “cinematic” image…and still end up with a… Read more

  • I Bought a $7,600 Gimbal… It Didn’t Help My Career

    I Bought a $7,600 Gimbal… It Didn’t Help My Career

    I spent $7,600 on a gimbal thinking it would level up my career. It didn’t. No new clients.No new opportunities.No real change. At the time, it felt like a logical investment—better gear, more capability, more “professional” setups. But looking back, I was solving the wrong problem. Most filmmakers (myself included at the time) try to… Read more